Plays Women Composers

構成数 : 1枚
合計収録時間 : 00:55:55
Personnel: Tomoko Mukaiyama (piano). Liner Note Author: Paul Janssen. Recording information: Studio Hilversum (08/15/1994-08/17/1994). Translators: Susanna Von Canon; Lida Winiewicz. Unknown Contributor Role: Meredith Monk. This set of works by 20th century women was composed mainly for the piano and is remarkable for the breadth and dimension of its impeccable selections by pianist Tomoko Mukaiyama. Galina Ustvolskaya, Sofia Gubaidulina, and Adriana Holszky; all come from Eastern Europe and began their work behind the former Iron Curtain. In the case of both Ustvolkaya and Gubaidulina (both students of Shostakovich), the historical, political, and spiritual surround their lives and are inseparable from their art. In Holszky's case (from Bucharest), form and deconstruction are paramount. The two Americans here are also very different: Meredith Monk composes mainly for voice, the vocal acrobatics of her "Double Fiesta" contain all its difficulties whereas the piano is merely accompaniment. Vanessa Lann had her work "Inner Piece" commissioned by Mukaiyama for this recording. The most material is by the Eastern Europeans. Holszky's two-part "Hofenster fur Franz Liszt," is one architecturally built by one chord placed upon another as two note clusters. They accent a defined but fluid rhythm, shading three themes by Liszt. This is later underscored in "Part Two" by vocal grunts, shouts, whimpers, and the steady percussive banging on the piano wood that Mukaiyama does with gusto. Ustvolskaya's "Piano Sonata VI" is entirely comprised of chords; they are built up, stack upon stack, until spiritual and emotional tension require a collapse and hermetic resolve: they are dissembled, layer by layer, each played harder than its predecessor until the work becomes a Mobius strip. Gubaidulina's three-movement sonata from 1965 is one of her earlier and more tonal works. Notable is the dexterity with which she passes through forms, interspersing the Baroque with Classical with the Romantic pre-serialist 20th century. But she also looks to the future ("Part III") as if new tonal and modal elements for both construction and expression were already on her horizon. Lann's "Inner Piece" is a meditative work. Bass notes in the lowest register are syntactically supplemented with, and taken over by, chords rooted in those same notes. Its fairly simple time signatures and minor seventh chords are shoved up against almost jazz-like rhythmic structures that enter and fade as images rather than compositional elements -- which also lends considerable beauty to the work. It's a workout for Mukaiyama, whose dexterous use of the left hand in playing it against the right is remarkable. In all, a fine set of uncompromising works by an equally uncompromising artist whose playing often uses flourishes and acrobatics instead of restraint, but it's only because her subject matter demands a type of hearing it's never before received. ~ Thom Jurek
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